The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Pedro Figari explains the difficulties to both develop and become interested in emotional art, which requires a thoughtful and meditative interior life, in view of aspects of the present society; “all seems to be prone against poetic manners, [and instead] for mechanization, for a materialized life, where cold and insensitive calculation rules.” But this ”modern sensorium” does not imply the loss of “our being, which continues to be human,” but only an inevitable correction by evolution itself of this ‘same biological form’, rooted infinitely to past centuries.” According to him, emotional art can resort to the “human den” for its creation and development.
O autor esquadrinha as dificuldades inerentes ao desenvolvimento e interesse pelas artes emocionais, aquelas que requerem uma vida interiorizadamente reflexiva; isto é, meditativa perante as características da sociedade atual, “na qual, aparentemente, tudo tem em vista a despoetização, a mecanização, a materialização da vida, primando nela o cálculo frio e insensível”. Porém, considera ele, esse “sensório moderno” não abrange a perda de “nosso ser, o qual continua sendo humano”, mas apenas a inevitável ação retificadora da própria evolução de uma “‘mesma forma biológica’, enraizada numa precedência de séculos infindáveis”. Portanto, as artes emocionais podem evocar o “antro humano” para sua criação e desenvolvimento.
The Uruguayan painter Pedro Figari (1868–1938) established himself equally as an attorney-at-law and an intellectual. In 1921, he settled in Buenos Aires, connecting with many important figures in the city’s cultural milieu. He published various articles in important Buenos Aires avant-garde publications such as Martín Fierro, Proa, and Valoraciones (La Plata) and in newspapers like La Prensa and La Nación. In his writings, as well as in his lecture at the Asociación Amigos del Arte, one can recognize his focus on the evolution of a Latin American critical gaze focused on its innermost traits; his will to study its past as well as both the contemporary realities in these countries and the necessities thereof. All this includes Figari’s ongoing interest in the pre-Columbian world. These aspects were not foreign to the concerns of the groups representative of the 1920s avant-garde. Even though contrarily, his modernizing project did imply an attentive look to Europe, especially to French culture; it also included a constant confrontation with his own historic and cultural reality. Within this set of problems one must understand the relevance of Figari’s thinking for the young “vanguardists” of those days. Martín Fierro (1924–27) played a major role in the great proliferation of avant-garde journals published in Argentina, more specifically in the 1920s Buenos Aires. Evar Méndez led it, though throughout 1925, Oliverio Girondo, Eduardo J. Bullrich, Sergio Piñero, and Alberto Prebisch also took part in its administration. Among the participants were key Argentinean writers such as Girondo, Ricardo Molinari, Leopoldo Marechal and Jorge Luis Borges, among others; as well as the artists Emilio Pettoruti, Xul Solar, and Norah Borges. Martín Fierro ceased publication when, preceding the presidential candidacy of Hipólito Yrigoyen, the core group was divided between those who supported the magazine assuming a political stance and those who did not. This internal bickering continued until the publication’s end. It is important to recognize that Martín Fierro was seen in its time as a key fixture of the Avant-garde in Argentina.